Live Review: James Taylor @ Margaret Court Arena

It’s not every day that you find yourself in the company of one of the world’s most prolific songwriters, but that’s exactly what happened on Tuesday night as American folk singer James Taylor performed the first of two shows at Melbourne’s Margaret Court Arena.  

Since the release of his self-titled debut album in 1968, his ruminative melodies and distinctive pianistic guitar playing have captivated audiences. Now 76, his gently reassuring baritone voice is slightly frayed but no less impactful. If anything, his voice has more emotional resonance than ever before. 

Taylor’s achievements cannot be understated. The six-time Grammy Award-winner has sold more than 100 million albums, has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, and has been presented with the Presidential Medal of Freedom (the highest civilian honour in the United States) and the Kennedy Center Honors. 

His accolades are only matched by his influence. Taylor contributed to two of the greatest albums of all time, Carole King’s Tapestry and Joni Mitchell’s Blue, and inspired a track on Abbey Road. Even Taylor Swift was named after him.

Yet, despite all of this, Taylor still carries himself with the humble air of a troubadour, and in the doldrums of autumn night, his poetic songs were cathartic. “Melbourne, it’s great to see you. Finally!” Taylor announced as he unassumingly took the stage. Austrian curtains draped behind him bestow a sense of occasion on the night.

Fittingly, the show opened with an acoustic version of Something In The Way She Moves, a song that kickstarted Taylor’s career when he played it during his audition for Paul McCartney and George Harrison before signing with Apple Records. The song went on to inspire Harrison to write Something.

By the end of the opener, a wave of serenity had washed over the crowd, setting the mood for the evening. The crowd began to shout professions of love. “I love you too. I can’t explain it,” Taylor replied. Oh, and if you’re wondering why your parents weren’t available to babysit this week, it’s because they were at the show. 

Each song had a story. The breezy That’s Why I’m Here was written after comedian John Belushi’s untimely death, which served as a wake-up call to Taylor. Robert Hughes’s book The Fatal Shore inspired Yellow And Rose, which has become a staple on the Australian setlist.

Promoted as An Evening With James Taylor And His All-Star Band, the all-stars comprised eight distinguished players, including guitarist Dean Parks, drummer Steve Gadd, Kevin Hays on keys, Jimmy Johnson on bass, and vocalists Dorian Holley and Kate Markowitz, as well as vocalist/fiddle player Andrea Zonn.

Even Taylor’s wife, Caroline, got into the mix at one point. Gadd was particularly great on Country Road. Another standout moment for the band was Sweet Baby James. Composed as a tender lullaby for Taylor’s nephew, Sweet Baby James opened with Zonn on the fiddle, who, together with drummer Gadd, added an Irish-sounding flourish to the song. 

At one point, Taylor exhibited his comically large setlist, which had the crowd shouting for their favourites. When someone requested Up All Night, Taylor assured them it was on the list, adding that set two was adequate. 

Adequate turned out to be an understatement, as the best was yet to come, but the closing song of set one drew some amusing looks from the crowd. Described by Taylor as “a song about nonsense,” Sun On The Moon was the wackiest song on the setlist, but from crowd callouts, it seemed a better substitution would have been the sorely missed Copperline.

Referencing Taylor’s childhood outside of Chapel Hill in North Carolina, Carolina In My Mind opened the second set following intermission. Taylor recounted how he wrote the song on the Spanish island of Formentera while feeling homesick after moving to London. 

From Carolina to Laurel Canyon down to the shores of Mexico, Taylor’s music is transportive. Contrasting the moments of melancholy, Mexico was a breath of fresh air with its mellow Latin groove. 

The night wasn’t without its hiccups, as numerous guitar changes led to so many technical difficulties that, at one point, Taylor humorously told us to talk amongst ourselves. In consolation, we were treated to many charming anecdotes and spontaneous dad jokes, including the evolution of the electric guitar from the horse-drawn, steam, and gas guitars of days gone by.

The only song featuring Taylor on electric guitar was the blues parody Steamroller, which saw him do his best blues imitation. The song not only demonstrated Taylor’s vocal dexterity and guitar skills but also his sense of humour. 

Receiving one of the biggest reactions of the night, Fire And Rain is a mournfully stunning song written about one of Taylor’s childhood friends who took her own life while Taylor laments over his struggles with depression, drug addiction, and fame. 

Composed in response to Fire And Rain, Carole King’s You’ve Got A Friend stands out as one of the most tender moments of the night. Other covers include Handy Man by Jimmy Jones, Up On The Roof by Carole King, and Marvin Gaye’s How Sweet It Is (To Be Loved By You). 

Appropriately, the show ended with You Can Close Your Eyes, but it took a few moments before the audience allowed Taylor to leave the stage, showering him with much-deserved applause. But the praise runs deeper than one two-hour show; it felt as though the applause was in appreciation for a lifetime of music. Rumoured to be his final Australian Tour, these shows are not to be missed.